Guide to Minolta Cameras or What They Didnt Tell Us in Their Docs

Compiled by Petr Holub

2002 2003
This guide is based on experiences of people around the Internet mostly from Minolta Yahoo group. This guide is dedicated to this group in hope that it could help to bring back discussions to the photography instead of lost expectations about D-SLRs and similar things.
I WOULD LIKE TO THANK TO all the people that contributed to this guide in any way and all the people that participate in Minolta Yahoo group discussions. P. H.

Contents

I would like to thank to. Contents List of Tables List of Figures 1 Foreword 2 Information on bodies and lenses 2.1 Minolta AF bodies. 2.1.1 Overview of Minolta AF bodies. 2.1.2 Batteries for Minolta equipment. 2.2 Minolta Dynax/Maxxum 600si (507si, 650si). 2.2.1 Beyond the Owners Manual: Tips and Tricks 2.3 Dynax/Maxxum Lens Chart. 2.3.1 G Series. 2.3.2 D-Series. 2.3.3 RS = Re-Styled Lenses. 2.3.4 Maxxum Lens Glossary. i ii iv v 27 27
3 Flash-less photography 3.1 Photographing with M42 / Minolta AF lens reduction. 3.1.1 Comment on M42. 3.2 More on photographing with M42 / Minolta AF lens reduction 3.3 Alternative testing of vignetting. 3.4 Setting Minolta DiMAGE Scan Dual with VueScan. 3.4.1 Scanning Fuji Provia. 3.5 Minolta mounts. 3.6 Disabling the lens mount check. 3.7 Remote release cord. 3.7.1 Building your own Remote Cord (v. 1). 3.7.2 Building your own Remote Cord (v. 2). 3.7.3 Building your own Remote Cord (v. 3). 4 Flash photography 4.1 FlashAmbient Control 4.1.1 P Mode Flash. 4.1.2 A Mode Flash. 4.1.3 S Mode Flash. 4.1.4 M Mode Flash 4.1.5 Fill Flash.

CONTENTS

4.2 4.3
4.1.6 Slow-Shutter Sync. 4.1.7 Other comment. Short summary on using ll-in ash. Short summary on using wireless ash
A Flash-less experiments A.1 INI les for Minolta DiMAGE Scan Dual with VueScan A.1.1 Settings for Fuji Provia 100F. A.1.2 Settings for Konica Centuria 100. A.1.3 Settings for Konica Centuria 200. A.1.4 Settings for Konica Centuria 400. A.1.5 Settings for Konica VX 100. A.1.6 Settings for Fuji Superia 1600. A.2 Reciprocity Corrections Brooks Institute. B Flash experiments B.1 Wireless ash experiment. B.1.1 Experiment setup. B.1.2 Experiment results and discussion. B.2 Flash Test ADI/Pre-Flash/Bounce/Wireless.
Bibliography Literature about Minolta and Minolta-compatible equipment Web links about Minolta and Minolta-compatible equipment Camera bodies. Lens. Flash. Interesting books on photography.

List of Tables

2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11 3.1 3.2 4.1 4.2 Minolta AF Bodies in Chronological Release Date Order Batteries for Minolta equipment. Fixed focal length lenses. Zoom lenses. Macro lenses. Teleconvertors. xi zoom lenses. G lenses (I). G lenses (II). G lenses (III). D lenses. 45
VueScan parameters for scanning Fuji Provia using Minolta Scan Dual. Disabling the lens mount check. Flashambient compensations performed by camera. Changing Program Flash Control with the Custom xi card.
A.1 Reciprocity Corrections Brooks Institute (1/2). A.2 Reciprocity Corrections Brooks Institute (2/2). B.1 B.2 B.3 B.4 B.5 B.6 Wireless ash experiment setup. Wireless ash experiment: observations of camera and ashes behavior Wireless ash experiment: results. Flash experiment: 2485 lens. Flash experiment: 2880D lens. Flash experiment: Wireless.

List of Figures

3.1 3.2 Results of M42 adapter tests (1). Results of M42 adapter tests (2). 40
B.1 Wireless ash experiment setup.

Chapter 1

Foreword
As noticed by many photographers around the world Minolta produces high quality products for photographers. What they lack are people capable of writing documentation of reasonable quality. After hearing many discussions like: My camera of this brand is much better that your of that brand! and after seeing many master-pieces of photography shot with some of old all-manual cameras the point I feel as the most important is to get acquainted with the camera you already have (unless its really crippled) and to know exactly what it will do under (almost) any situation and how to make it do what you need and want. I hope that this guide will help us at least a bit to have our Minolta cameras working in this manner. Heres the list of people whose contributions has been included in this guide: Chingfeng Au (cfau1974@hotmail.com)

. continued from previous page Body or Meter TC-1 Digital Cameras Dimge V RD-175 Exposure Meters Flashmeter V, Autometer IV F, Spotmeter F Flashmeter IV Autometer IIIF, III and II, Spotmeter M Colormeter II, Flashmeter II Flashmeter III Booster II Viewmeter 9
Batteries Used CR123A AA 2CR5
2. Using 14 Segment Honeycomb Metering Mode and an attached automatic lens in AF Auto Focus mode, you can lock the exposure reading in P Program Exposure Mode, A Aperture priority Exposure Mode, or in S Shutter Speed Priority Exposure Mode by pressing the Shutter Release Button part way down. 3. Center-Weighted Metering Mode and Spot Metering Mode readings can be locked using only a third method pressing the AEL Auto Exposure Lock Button, marked AEL to the right of the eyepiece. You can use the AEL Auto Exposure Lock Button to lock the exposure setting in any of the Minolta 507si, 600si, and 650si cameras three metering systems. AEL Auto Exposure Lock is especially useful in the automatic exposure modes, Program, A Aperture priority, or S Shutter priority, when you want to take a meter reading from one part of your chosen photographic subject scene and then focus on another part. You can do this by focusing, and possibly zooming in, on the detail you want to meter and then pressing and holding the AEL button. [AEL] appears in the Viewnder Data Panel. You must maintain pressure on the AEL button until you release the shutter to the picture. Then aim the focusing target at your subject and press the shutter release part way down to lock focus. You can then reframe and adjust the lens zoom if necessary to get the image you want. Then press the shutter release all the way down and make your exposure. By Minolta factory default, the AEL Auto Exposure Lock feature is effective only while you hold it down. To reset the AEL Auto Exposure Lock feature to toggle AEL on at rst press, off at second press hold ISO Button switch and tap AEL Auto Exposure Lock Button. Front and Rear Control Dial Rules: Generally, both front and rear control dials increase the numeric value being controlled when rotated to the right, and decrease the numeric value being controlled when rotated to the left. The Front and Rear dials Control Dials on the Minolta 507si, 600si, and 650si camera can be used interchangeably to set camera body Shutter speed and an attached automatic lens Aperture in all Exposure Modes and operations except M Manual Exposure Mode. In M Manual Exposure Mode, the Front Control Dial sets the camera body Shutter Speed and the Rear Control Dial sets an attached automatic lens Aperture. For guidance from the Metering system, rotate the Control Dials in the direction of the arrows in the Viewnder Data Panel to obtain a Shutter Speed and attached automatic lens Aperture to correspond with the camera Metering systems assessment of your chosen photographic subject. Viewnder Long Eye Relief: The viewnder image and all displays can be seen in their entirety from a distance of 0.9 inch (22.7 mm), appropriate for photographers wearing glasses. Setting Viewnder Diopter: You can easily set the diopter correction without a lens on the camera. Point it toward a bright light source and turn the small diopter adjustment dial (next to the eyepiece) until the brackets etched on the viewing screen appear sharpest. The dial sets correction factors between and diopters. High Shutter Speed Flash: The Minolta 5400HS accessory ash unit emits a short pre-ash in HSS High Speed Synchronization Mode, which res when the cameras Shutter Release Button is depressed half way. This allows the camera metering system to measure the subjects illumination at this instant and select a ash intensity and Shutter Speed for balanced illumination of the subject and the background. If, while in P Program or Aperture priority Exposure Mode, a Flash to Shutter synchronization speed faster than second is called for, the system automatically shifts into High Speed Synchronization Mode. High Speed Synchronization Mode Flash differs from conventional ash by ring a series of highfrequency pulses at 50 k Hz that resemble a constant light source. Even illumination across the lm frame is assured during the entire time the cameras shutter curtains are open to record the image.

2.3. DYNAX/MAXXUM LENS CHART
blur a distracting background while keeping both the subjects nose and ears in focus. In selecting an aperture-shutter speed combination, the system considers such factors as focal length, subject reectance and contrast, subject distance and type, and the reproduction ratio, or degree of magnication. The system then selects an appropriate combination of aperture and shutter speed for the situation, however it will try to maintain a hand-holdable shutter speed, such as second shutter speed with a 50 mm lens, to reduce the risk of blur from hand held camera shake. To disable AF Auto Focus lens to Shutter interlock, hold the ISO Button and the Lens Mount Button while turning the camera ON. Automatic Exposure Bracketing: Automatic Exposure Bracketing drive mode exposed 3 consecutive images, one at normal EV Exposure Value, plus one at stop EV Exposure Value and then one at stop EV Exposure Value, which is a rather narrow exposure range best suited for the sensitivity and dynamic range of slide lm. For other lm, you can use manual Exposure Compensation control, perhaps taking two additional frames, one at +1 or greater and the other at the +2 or greater setting. Multiple Multiple Exposures: Although you can pre-set a maximum of nine exposures on one frame of lm, you can actually achieve any number. If you want to shoot 16, for example, merely reset the Multiple Exposure feature to 8 after shooting the rst 8. Body Depth: The depth of the Minolta lens mount to lm plane is 44.7mm. Setting DX Film For More Than 24 or 36 Frames: The Minolta 507si, 600si and 650si camera will rewind the lm immediately after the last frame of 24 or 36 exposures as sensed by the DX coding on the lm can. The selected Aperture and Shutter Speed values will disappear immediately after the last exposure when rewind begins preventing you from viewing and recording these values. To wind to the true end of your lm and expose additional available frames, scrape the paint off the lm can DX sections 8, 9 and 10. The camera will then rewind only when lm advance is not possible due to reaching the true end of the lm, or if you manually press the Rewind Button. This permits you to manually rewind after recording your Aperture and Shutter Settings after the nal frame, either 24 or 36, or to expose an additional frame. However, be aware that rewind will begin immediately after the nal exposure, so watch for and record you nal frame Aperture and Shutter Speed before or during the nal exposure.

10/9 10/9

1/9 1/9

integral integral

65/8 65/8
400mm f/4.5 APO G 500mm f/8 Mirror Reex *600mm f/4 600mm f/4 G [HS]
. continued from previous page Lens EleAngle ments / Of Groups View

Min. Focus [ft] 9.9

Max. Magnication 1/6.5
103/4 45/8 1711/16 1711/16

67 237/194

Dimensions (dia. length) [in] 31/4 31/23/4
211/16 117/16 101/16 101/16 145/8 145/15/813/16 81/2 611/16

175/16 175/16

171/8 171/8
23/4 33/4 27/8 315/16 27/8 4
27/8 33/16 31/2 69/16 31/2 69/16

1/3.84

27/8 315/16 23/4 311/16 23/4 311/16 27/8 67/16 213/16 413/16 213/16 413/16 213/16 413/16

5(1.34) 2.8

1/12.5(1/4) 1/6.5
*3580mm 8/8 f/45.6 3580mm 8/8 f/45.6 II *35105mm 12/14 f/3.54.5 *35105mm 12/10 f/3.54.5N *70210mm 9/12 f/4 *70210mm 12/12 f/3.54.5 *70210mm 10/10 f/4.55.6 MZ 70210mm 10/10 f/4.55.6 II *75300mm 13/11 f/4.55.6 75300mm 13/10 f/4.55.6 75300mm 13/10 f/4.55.6 II 75300mm 13/10 f/4.55.6 (D) (S) *80200mm 9/9 f/4.55.6 *80200mm 16/13 f/2.8 APO 80200mm 16/13 f/2.8 APO G[RS] *100200mm 8/7 f/4.5 *100300mm 11/9 f/4.55.6 *100300mm 11/10 f/4.55.6 APO continued on next page.

1/14.3(1/4) 1/5.7

3.3(1)
*28135mm f/45.6 3570mm f/3.54.5 MZ 3570mm f/4

5 (.82)

1/11(1/4)
. continued from previous page Lens EleAngle Of ments / View Groups

Min. Focus [ft]

Dimensions (dia. length) [in] 215/16 45/16 211/16 21/2 211/16 21/16 29/16 215/16 27/16 210/16 211/16 37/16 211/16 25/16 27/8 6
267/16 73/4 91/16 67/8 53/8 171/2 73/4 241/13/16 123/8 111/4 301/2 181/2 171/4 161/4

109/16 451/8 451/8

131/4 147/16 153/8
These lenses have the same glass as the previous MZ models. No Focus scale. No focus lock button. Table 2.5: Macro lenses Lens Elements / Groups 7/6 7/6 5/5 8/8 8/8 8/8 13/8 7/5 Angle Of View
Size of subject that lls the lm plane. Table 2.6: Teleconvertors Lens *1.4 APO

continued on next page.

1.4 II APO [HS]

Elements / Groups 5/4

Dimensions (dia. length) [in] 21/2 13/16

Weight [oz] 63/16

Compatibility 200 f/2.8 APO G 300 f/2.8 APO G 300 f/4 APO G 400 f/4.5 APO G 600 f/4 APO G 200 f/2.8 APO G 300 f/2.8 APO G

3/1 1/1

33/8 45/8 33/4 (W H D)

mm (3X) mm (1X)

1 (3X) 1.6 (1X)

.75 1.2 1.2

1/2 1/1 1/1

55 mm 55 mm 55 mm

25/8 23/16 213/16 37/8 213/16 37/8 37/8 72/3
*50mm f/2.8 50mm f/2.8 [RS] 50mm f/3.5 *100mm f/2.8 100mm f/2.8 [RS] 100mm f/2.8 (D) 200mm f/4 APO G Zoom f/1.7 2.8

211/16 25/16 23/4 23/8

Min. Focus [ft].65.65

Max. Magnication 1/1 1/1

31/8 57/8
100300mm f/4.55.6 APO (D) 100400mm f/4.56.7 APO
Dimensions (dia. length) [in] 27/8 4
105/16 117/185/16 185/403/16 3813/16

f/22 f/22

Dimensions (dia. length) [in] 29/31/16 213/16 31/8 72/3

169/16 193/4 403/16

177/8 871/2 493/4 67

2.3.2 D-Series

D-Series lenses include new distance-encoding device which enables improved calculation for ash exposure with Maxxum 5 and 7 cameras when used with 3600HS D and 5600HS D ashes. Table 2.11: D lenses Lens Elements / Groups 12/11 8/7 Angle Of View Min. Focus [ft] 1.6
Manual focus ring does not rotate during AF
2.3.3 RS = Re-Styled Lenses
Fixed Focal Length Lenses AF 20mm f/2.8 RS Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 24mm f/2.8 RS Rubber focusing grip. ABS plastic focusing barrel. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 35mm f/1.4 RS AF lock/lens function button on lens. Rubber focusing grip. Circular aperture up to

31/5 213/16 213/16 37/8

213/16 413/16 4
24105mm f/3.54.5 (D) 2880mm f/3.55.6 (D) (S) 75300mm f/4.55.6 (D) (S) 100300mm f/4.55.6 APO (D) 85mm f/1.4 G (D) 100mm f/2.8 Macro (D)
Dimensions (dia. length) [in] 25/8 25/8 27/16 29/16
1735mm f/3.5G 2870mm f/2.8 G 80200mm f/2.8 APO G

600mm f/4 G

Dimensions (dia. length) [in] 65/8 1711/16 31/4 31/5 31/4 49/16 31/2 69/16

194 211/16 267/16 451/8

13 15/16 611/16

171/10

193/4 18
f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 35mm f/2.0 RS Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 50mm f/1.7 RS Rubber focusing grip. ABS plastic focusing barrel. Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 50mm f/1.4 RS Wider rubber focusing grip. ABS plastic focusing barrel. Circular aperture. Large, detachable lens shade. Foot/Meter focus scale in all white paint. 55mm lter thread. The new lens is optically the same as the original. AF 85mm f/1.4 RS AF lock/lens function button on lens. Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. Zoom Lenses 24-50mm f/4 RS Rubber focusing grip. ABS plastic focusing barrel. Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. 24-85mm f/3.5-4.5 RS Circular Aperture. New style rubber focusing and zoom grips. The new lens is optically the same as the original. 28-85mm f/3.5-4.5 Introduced with 9xi in 1992. Polycarbonate barrel. Faster focusing.* 28-105mm f/3.5-4.5 RS Circular Aperture. New style rubber focusing and zoom grips. The new lens is optically the same as the original. 80-200mm f/2.8 APO HS The 80-200mm f/2.8 APO received a stronger focusing shaft which enabled better focus tracking, a rubber focusing grip for easier manual focus, and white paint nish. Macro Lenses 50mm f/2.8 Macro Rubber focusing grip. ABS plastic focusing barrel. Circular aperture. Focus Range limiter. Focus hold button. 100mm f/2.8 Macro Rubber focusing grip. ABS plastic focusing barrel. Circular aperture. 40 HS = High Speed APO Lenses 200mm f/2.8 APO

300mm f/2.8 APO 600mm f/4 APO 80200mm f/2.8 APO
These lenses were redesigned in 1988 for the Maxxum Series-i cameras. Internal changes include a faster focusing gear and a new IC ROM to enable faster focusing with Series-i, xi, and si cameras. External changes include AF lock/lens function button (one for 200mm, two for 300mm and 600mm lenses), and High Speed Focus decal on lens shade. Additionally, the 80200mm f/2.8 APO received a stronger focusing shaft which enabled better focus tracking, a rubber focusing grip for easier manual focus, and white paint nish.

APO Tele Converter

The converters were redesigned with new gear and IC ROMs. External changes include TYPE II designation. It is OK to use old-style converters on new lenses. Using a new converter on an old, nonupgraded lens will cause slower focusing Warning: THE APO CONVERTERS CANNOT BE USED WITH THE 80-200MM APO LENSES. If mounted together, the front element of the converter will contact back element of the lens and damage both.
2.3.4 Maxxum Lens Glossary
Circular Aperture Defocused background highlights take the shape of the diaphragm in wide-aperture portrait shots. The 9-blade apertures found in some of the G-lenses is specially designed to provide a circular opening at widest apertures (small f-numbers). A circular aperture produces softer, more natural-looking backgrounds at wider apertures than a lens having a standard 5-, 6-, 7-, or 9-bladed aperture. Floating Optical Design Rather than moving all lens groups as a single unit, designated optical groups in some of the G-lenses move independently as the lens focuses. This oating movement provides an extremely at image at the lm plane thus assuring corner-to-corner sharpness. It also provides a high degree of control over sagittal are, and eliminates coma, an aberration that causes off-axis object points to appear as short comet-like images on lm. Reducing sagittal are and coma provides an extremely sharp, high-contrast image which more effectively separates the subject from its background at large apertures. Internal Focusing The AF 200mm, 300mm, and 600mm APOs internal focusing system moves lighter internal lens elements to focus the image instead of the larger front elements used in conventional systems. This along with a high-ratio lens drive provides quick, accurate focusing of fast moving subjects. In addition, a focus limiter permits selecting a focusing range for even faster response. Anomalous Dispersion (AD) Glass Different wavelengths of light come into focus at different planes. This effect is know as Chromatic aberration and can cause a rainbow halo around points of light and reduced sharpness. Standard achromatic telephotos are corrected to bring the red and blue components into focus at the lm plane. The Anomalous Dispersion (AD) glass, used G-Series APO telephotos and zooms as well as the 100-300mm APO and 100-400mm APO virtually eliminates the effects of lateral and longitudinal chromatic aberration, providing increased sharpness and extremely accurate color rendition. Aspheric Design Different than the smooth continuous arc of a normal lens element surface, the curvature of an aspherical lens element changes shape across its surface. This irregular surface helps to correct spherical aberration and coma, an aberration that causes off-axis object points to appear as short comet-like images on lm. It also reduces sagittal are. The inclusion of aspheric elements in a lens design enables designers to reduce the amount of elements in the design. This in turn reduces the amount of are producing surfaces, two per element, which increases the contrast and snap to the nal image. The reduction in elements also makes the lens smaller and lighter. Focus-Hold Button When pressed, it locks focus or can be used to select spot focus or continuous AF (with Custom Function Card or Customize Function Card xi). Distance Encoding Distance encoding with new and revised D lenses provides rened multi-segment metering for manual focus operation and depth-of-eld display on Navigation Display with the Maxxum 7 as well as ADI ash functions when the new 5600(D) and 3600(D) ashes. Integral Filters Because a front-mounted lter would be expensive and would cause excessive are, the 300mm and 600mm Apo lenses have a built-in lter holder. Six lters are provided: NORMAL (clear), Y52 (yellow), O56 (orange), R60 (red), 1B (skylight) and ND4X (2-stop neutral density). Achromatic Coating Minoltas Achromatic, multi-layer coating provides remarkably accurate color rendition and excellent contrast by virtually eliminating reections between lens elements.

3.5. MINOLTA MOUNTS

9. Remove the lens hood and attach the lter. I will assume that you are using a Hoya lter with a standard-thickness mount. Repeat step (7). Now there is a difference as the area of darkness approaches the lower left corner, a second area of darkness emerges from the lower left corner and travels towards the upper right, eventually meeting the darkness approaching from the upper right. This second area of darkness was not present when there was no lter, and so is the result of adding the lter. 10. Leave the lter attached and change the focal length to 105 mm and repeat step (7). At this setting there is no second area of darkness that emerges from the lower left, i.e. adding the lter has not changed what you see at the 105 mm focal length. 11. Leave the lter attached, change the focal length to 24 mm, and reset the aperture to maximum (f3.5 at 24 mm). Repeat step (7). As the area of darkness from the upper right is about to envelope the lower left corner, you can see that the second area of darkness is just about to emerge from the lower left corner, i.e. adding the lter is on the threshhold of changing what you see at 24 mm focal length. 12. Check also the 50 mm and 70 mm settings; 50 mm is affected slightly (more than 24 mm; less than 35 mm), but 70 mm is not affected (same as 105 mm). 13. Repeat steps (7) to (11) for the lters that you want to use (e.g. standard-thickness UV; slim UV; standard-thickness polarising; slim polarising). If you are not using the standard lens hood, check that too. Notes from exemplar testing of 24104/3.54.5 lens with Hoya lter My conclusion is that a Hoya lter with a standard-thickness mount produces no vignetting at 70105 mm, is on the threshhold of producing vignetting at 24 mm, and does produce some vignetting in the range circa 3060 mm. This is a strange result, as one would expect vignetting to be worst at the shortest focal length, but is presumably a result of the optical design of the 24105 zoom.
3.4 Setting Minolta DiMAGE Scan Dual with VueScan
Settings les are listed in App. A.1 (page 31).
3.4.1 Scanning Fuji Provia
Table 3.1: VueScan parameters for scanning Fuji Provia using Minolta Scan Dual Parameter Lock Exposure Long Exposure Pass Color Balance Value 1.95 Yes None Notes Might be increased to 2.2 if needed. Reduces noise in dark parts of the image.

3.5 Minolta mounts

[Author(s): Chuck Cole.]

Question: How many types of minolta mounts are there? Answer: Four plus. (I dont know all the details but had the 9xi problem on a Sigma 400mm).
3.6. DISABLING THE LENS MOUNT CHECK
1a) Minolta made some Leica-compatible RF screw mount lenses for various rangenders (both screw and focus cams work on both brands) 1b) Minolta made some Leica-thread, incompatible RF screw mount lenses for various rangenders 2a) early SR/SRT mounts lacked the aperture tab found on all MD mounts and most (or all?) MC mounts: bayonet ts, but auto-metering doesnt work. 2b) regular MD/MC mounts with auto tab 2c) one rare 35mm guide number lens (aperture set per focus distance for old bulb ash) 2d) screw-adapter bellows types 3a) early Maxxum mounts (eg, 7000 & 9000) do AF with any version AF lens (early Sigma 400mm f5.6 doesnt work with 9xi, etc, but works with 7000,9000) 3b) mid Maxxum lenses work with all AF bodies, but lack DOF coupling 3c) newer Maxxum has DOF features 4) Vectis series lenses for R-3000 (digital), etc Note: some Maxxums (eg, 2xi, 3xi, Spxi) cannot defeat their shutter interlocks so they can use T-mount lenses or telescopes, etc, but most can (see sec. 3.6). I think there more RF versions and maybe a twin-lens type or two. Lets ignore the microscope and enlarger options that could be used on.
3.6 Disabling the lens mount check
Table 3.2: Disabling the lens mount check Camera 5000, 7000, 9000, 3000i, 5000i, 7000i, 8000i 2xi, 3xi, Spxi 5xi Procedure No preparation needed to use T-mount lenses.
Requires circuit modication by Minolta. Press and hold SPOT and FUNC. buttons and switch from LOCK to ON. 7xi/9xi Press and hold AEL and FUNC. buttons and move power switch from LOCK to ON. 300si Press and hold FLASH and DRIVE/SELFTIMER buttons and move power switch from LOCK to ON. (Off appears in LCD panel) 400si Press and hold Drive Mode and AV buttons and move power switch from LOCK to ON. 404si Press and hold the P and Self Timer switches with Function Dial at ME while sliding the Main Switch to ON. 500si Press and hold Drive Mode and SPOT buttons and move power switch from LOCK to ON. continued on next page.

Chapter 4

Flash photography

4.1 FlashAmbient Control

[Author(s): Phil Brandon. Reviewed by: Petr Holub.]
This section is copy of one found on the web [16] (hopefuly I dont violate any copyright by including it in this guide). Its written by Phil Brandon from Minolta USA about 700si and paritally 800si but it seems to work for my 600si as well so its probably general a bit. On the bottom of the web page [16] there are some other notes probably about 800si. It would be really nice if somebody who speaks both Thai and English translates those in English. Whether using its built-in ash or an attached accessory ash, the Expert Flash system of the 700si is designed to recognize basic lighting conditions and adjust ambient light settings and ash duration to achieve the best results automatically. The table 4.1 on page 26 indicates adjustments made for all situations

4.1.1 P Mode Flash

When the ash is up or any dedicated accessory ash is attached to the 700sis hot shoe, either directly or through accessory connectors, it will re automatically in P mode whenever necessary. The shutter speeds between 1/200 and 1/60 second and apertures within the working range of the lens will be set automatically depending on the ambient light level. The cameras TTL ash metering system monitors the amount of light which reaches the lm plane and automatically stops the ash output when it detects that sufcient exposure has been received. In backlight conditions requiring ash or when the forced-ash button is pressed, the ambient light exposure of the subject will be reduced by approximately one stop and the ash brightness will be reduced from 1/4 to 3/4 stop to maintain proper subject exposure. The background will be up to 1-1/2 stops brighter than the subject exposure. When the SPOT button is pressed for slow-sync ash photography, ash brightness is reduced by 3/4 stop and shutter is set to a speed slow enough to allow normal background exposure. The ash will not re if the 700si is set for either PA or PS modes. Press the MODE button to resume normal P Mode ash operation. Changing Program Flash Control with the Custom xi card Normally the 700sis exposure computer will decide when to use ash even if the built-in ash is popped up or an accessory ash is attached and turned on. If you would like the ash to re everytime the ash is lifted, use the Custom xi card to switch the Program ash control to manual switchover. The table 4.2 shows the function number and setting to make.

Exposure control

4.1. FLASHAMBIENT CONTROL
Function number 5 Backlight ll-in EV 1 EV or less EV or less Yes Yes Yes Yes Yes Yes Yes Frontlight ll-in EV 1 EV No adjust Low light ll-in 0 EV 1 EV or less No adjust Yes Main Flash light subject Ambient light Backgroud (ambient) P mode + Auto ash P mode + Forced ash A mode + Flash ON S mode + Flash ON P mode + SLOW SYNC A mode + SLOW SYNC S mode + SLOW SYNC Backlight ll-in Frontlight ll-in Lowlight ll-in Night ll-in Daylight situation when the main subject is much darker than background Daylight situation when there is no big difference between subject and background brightness Dark condition or a situation which may cause blur due to camera shake Lowlight situation when background exposure is desired as much as the main subject.

Night scene EV No adjust 0 EV
TABLE 4.1: Flashambient compensations performed by camera
Control Program ash Control

Mode and operation

Yes Yes Yes Yes

Setting 1 2

Action Auto Switchover Manual Switchover
TABLE 4.2: Changing Program Flash Control with the Custom xi card

4.1.2 A Mode Flash

In A Mode, the photographer sets the aperture and the camera automatically selects the fastest sync speed between 1/200 and 1/60 second that ambient light levels will allow. This provides the advantages of full depth-of-eld control while the Expert exposure system uses multi-pattern metering or center-weighted metering to automatically determine ambient exposure and the necessary ash output. Basically, the system is designed to reduce ambient light exposure by one stop (by increasing the shutter speed) and, if possible, maintain it at this level for backlight, frontlight, and lowlight ll-in. In backlight and frontlight conditions, the ash brightness is reduced from 1/4 to 3/4 stop to produce a pleasing subject exposure. The background will be up to 1-1/2 stops brighter than the subject exposure. For indoor photography, ash brightness is at its normal rating while the shutter speed is controlled to reduce and maintain ambient light brightness by one stop. The slowest shutter speed available in A mode is 1/60 sec. Ambient levels requiring longer speeds will be underexpose to a greater degree. When the SPOT button is pressed for slow-sync ash photography, ash brightness is reduced by 3/4 stop and shutter is set to a speed slow enough to allow normal background exposure.

4.1.3 S Mode Flash

In this mode, any shutter speed between 1/200 sec. and 30 seconds can be selected by the photographer. The 700si Expert Exposure system then automatically selects the appropriate aperture from within the lens working range. Basically, the system is designed to reduce ambient light exposure of the subject by one stop (by closing the aperture) and, if possible, maintain it at this level for backlight, and frontlight ll-in. In these conditions, the ash brightness is reduced from 1/4 to 3/4 stop to produce a pleasing subject exposure. The background will be up to 1-1/2 stops brighter than the subject exposure. Shutter-priority ash is best used when the ambient front or backlight is equal to or greater than the subject brightness. If used in normal indoor ash photography where the background is dark, the aperture will remain wide open until the ambient light level approaches a normal ambient light, exposure. This provides the least amount of depth of eld for the picture. If the indoor brightness is high enough or the shutter speed selected is low enough to produce an ambient exposure without ash, the metering system treats the situation like a front- or back-light ll-in situation by reducing both ambient and ash exposure as described above. When the SPOT button is pressed, ash brightness is reduced by 3/4 stop and the if the ambient light is bright enough to require an aperture smaller than the maxxum for the lens in use, the lens aperture will be opened toward achieving better background exposure. Once again, S mode is not recommended for this procedure.

Most precise ll-in ash can be obtained using M (Brainer mode) mode described above but its the most time consuming. For faster work SLOW-SYNC would be probably the choice. Notes: When ash is the main (only) source of light you can achieve following results with compentsation (C) and ash compensation (FC)

C C C C

0; FC 0; FC 0; FC
0 properly exposed picture 1 one stop underexposed picture
1 one stop overexposed picture 1 properly exposed picture (no effect)
(this is based on tests with Dynax 600si/3600HS(D)/Kodak Ektoachrome E200 slide lm).
4.3 Short summary on using wireless ash
[Author(s): Gary Friedman. Reviewed by: Petr Holub.]
Well, embedded within these comments lie two other misconceptions about Minoltas wireless ash which will be debunked in the forthcoming article. However, Ill outline them briey here:
1 Intent behind described in Minolta manuals is night photography with some foreground object e. g. person lit by ash; both foreground and background should be properly exposed 2 This behavior can be expected because of primary raison d tre of SLOW SYNC mode, i.e. low-light photography, when you e wouldnt have your ash in HSS mode.
As misleading as Minoltas documentation is, you do NOT need to buy the wireless IR ash controller in order to control more than one off-camera ash! Your built-in ash can do this unaided. Just put all of your off-camera ashes on automatic and aim them at the subject, and during exposure the cameras built-in ash will send the All Off command whenever it detects that enough light has hit the lm regardless of which ash (or combination of ashes) produced the light.
Armed with this knowledge you can also set up 1:3, 1:6, or 1:Anything ash ratios just by changing the ash-to-subject distances, and the camera will send the all off signal when the light is sufcient (usually this will be the light from the closest ash - the ash that is further away will be turned off before it has a chance to put out enough light hence the ratio.) This technique also means you can achieve automatic ash ratios using HSS off-camera; youre not tied to Minoltas built-in 1/60 th of a second (1/30th of a second on the Maxxum 9) ash synch limitation. When used as a controller, the built-in ash puts out a negligible amount of light as compared to what is required for a proper exposure. That is why you cant see any evidence of the on-camera ash being present in any of the examples. To prove this to yourself, take a ash meter (in cumulative mode) and measure the total amount of light coming out of the built-in ash, both when in wireless controller mode and in normal mode, and compare the results.

before exposure blinking alternately glowing glowing
after exposure blinking blinking blinking
blinking alternately blinking alternately blinking alternately
blinking blinking blinking

blinking alternately

blinking
blinking alternately blinking alternately glowing blinking alternately glowing glowing
blinking blinking alternately glowing blinking blinking blinking
test ash (AEL button) one starting ash (on-camera) and one ash (off-camera) one starting ash (on-camera) and one ash (off-camera) one starting ash (on-camera) and two simultaneous ashes (off- and on-camera) one starting ash (on-camera) and two ashes (off-camera) one starting ash (on-camera) and two ashes (off-camera) one starting ash (on-camera) and two ashes (off-camera); 5400HS ashes approx. 0.5 sec after 3600HS(D) one starting ash (on-camera) and two ashes (off-camera); 5400HS ashes approx. 0.5 sec after 3600HS(D) one starting ash (on-camera) and two ashes (off-camera) 5400HS ashes approx. 0.5 sec after 3600HS(D) undistinguishable from case 1 and 2 undistinguishable from case 1 and 2
F IGURE B.1: Wireless ash experiment setup Table B.3: Wireless ash experiment: results # picture # picture
. continued from previous page # picture

picture

B.2. FLASH TEST ADI/PRE-FLASH/BOUNCE/WIRELESS
To summarize what I got from this experiment: When placing wireless ashes around your subject be careful about distances you place your ashes from the subject and the powers of ashes since you can create different ratios unintentionaly 1.
You can have ratio wireless off-camera ashes even without dedicated wireless ash controller despite what Minolta says in 5400HS ash manual. All you have to do is to set 5400HS to 2:[1] ratio and re the ashes using built-in camera ash. If you have 5400HS on-camera and you have your camera swichted to wireless mode (so that you have WIRELESS word shown on 5400HS display but not WIRELESS CONTROL!) ash works just like ordinary on-camera ash and it is unable to re any wireless ash. You need to set it to WIRELESS CONTROL mode by pressing and holding OPT button to do so. If you have 5400HS on-camera ash set to WIRELESS CONTROL and you need to use it as ll light (2:1) then you need to switch it to WIRELESS CONTROL 2:[1] mode. The way usual for built-in ash (holding ash button on camera body while shooting) seems not to work 2.

The built-in ash works in fact as a real wireless controller, so it is possible to use 1:2 ratio between two remote units. Though the it works the best with the 5600 set to (2) and 5400 set to (1). With reversed setting the effect of the ratio is much less prominent, but this way it is possible to play with lighting in a more exible way, IMHO. When both ashes are set to the equal power (i.e. without any ratio, just plain wireless mode) they provide equal illumination.

> > > >

Thanks for posting the results of your flash test, Marat. My conclusion is that, contrary to what has been stated earlier and often on this e-group, Minolta flash results are very unpredictable unless using a D lens.
Yes, they are. Unpredictable they become only with the pre-ash and a non-D lens. Now, as long as I dont have a D-lens, I have switched the ash metering to the 4-segment one - at least it gives very consistent and predictable results, though it tends to overexpose a bit. But still the 4- segment metering is much better than the centerweighted one in all Minolta cameras prior to the 9. Table B.4: Flash experiment: 2485 lens # 2485 Bounce 5400 picture # 2485 Bounce 5600 picture

2485 Preash 5400

# 2485 Preash 5600

2485 4S 5400

Table B.5: Flash experiment: 2880D lens # picture # picture
2485 Preash 5600 Vertical

2485 4S 5600 Vertical

2485 4S 5600

# 2880D Preash 5400

2880D 4S 5400

2880D ADI 5600

Table B.6: Flash experiment: Wireless # picture # picture
WL 5400ctrl(1) 5600slv(2)
WL 5600ctrl(1) 5400slv(2)

2880D 4S 5600

WL 5400(1) 5600(2)

WL 5600(1) 5400(2)

WL 5600(1) 5400(1) Built-in(1)

WL 5400 = 5600

Bibliography
Literature about Minolta and Minolta-compatible equipment
[1] Maschke T., Burian P. K., Magic Lantern Guide to Minolta Maxxum 600si, Magic Lantern Guides (A Laterna magica R book), 1995, ISBN 1-883403-34-0 [2] Damian Dinning, Complete Minolta Users Guide: Minolta Dynax/Maxxum 600Si (Hove Users Guide), Watson-Guptill Pubns, ASIN: 1874031606, February 1996, ISBN: 1-874031-60-6
Web links about Minolta and Minolta-compatible equipment
[3] Minolta Users Discussion Group, http://groups.yahoo.com/group/minolta/ [4] Minolta Users Group, http://www.35mm.freeserve.co.uk/mug/ [5] Minolta SLR FAQ Tips & Tricks, http://fotozoom.net/stary_fotozoom/hp/foto/minolta-faq/af-tips.html [6] Minolta Users Group of Thailand, http://www.geocities.com/minoltacamera/ (in Thai only :-( ) [7] boonedocks.net Minolta Site, http://boonedocks.net/photo/minolta/ [8] Free Minolta Manuals, http://www.geocities.com/eskoufos/fmm.html [9] Minolta Dynax System Accessories Overview, http://www.minolta.com/cameras/camera_mh/slr/acc/acc_othera.html